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	<title>Salon.com > Noir</title>
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		<title>&#8220;Gangster Squad&#8221; whitewashes the LAPD&#8217;s criminal past</title>
		<link>http://www.salon.com/2013/01/10/gangster_squad_whitewashes_the_lapds_criminal_past/</link>
		<comments>http://www.salon.com/2013/01/10/gangster_squad_whitewashes_the_lapds_criminal_past/#comments</comments>
		<pubDate>Thu, 10 Jan 2013 21:28:00 +0000</pubDate>
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				<category><![CDATA[Entertainment]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Gangster Squad]]></category>
		<category><![CDATA[Ryan Gosling]]></category>
		<category><![CDATA[Emma Stone]]></category>
		<category><![CDATA[Action movies]]></category>
		<category><![CDATA[Crime]]></category>
		<category><![CDATA[Zero Dark Thirty]]></category>
		<category><![CDATA[Los Angeles]]></category>
		<category><![CDATA[entertainment news]]></category>
		<category><![CDATA[Editor's Picks]]></category>
		<category><![CDATA[LAPD]]></category>
		<category><![CDATA[Noir]]></category>

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		<description><![CDATA[A lavish 1940s shoot-'em-up with Ryan Gosling, Emma Stone and tasty outfits sugarcoats L.A.'s darkest history]]></description>
			<content:encoded><![CDATA[<p>If you view Ruben Fleischer’s <a href="http://gangstersquad.warnerbros.com/">“Gangster Squad”</a> as a violent period crime thriller in a familiar dress-up vein – as a capable imitation of better movies by Martin Scorsese, Brian DePalma and Roman Polanski – it’s reasonably successful entertainment. It’s got overacting from Sean Penn, beneath a ton of makeup, as legendary Los Angeles mob boss Mickey Cohen, along with underacting from Ryan Gosling as the slightly nebbishy romantic lead and down-the-middle acting from Josh Brolin as its upright cop hero. Add in the digitally re-created, noir-flavored locations of postwar L.A. and the dazzling eye candy of Emma Stone in terrific period dresses and heartbreaking auburn hair and, hey – by the standards of midwinter Hollywood releases, not bad at all.</p><p><a href="http://www.salon.com/2013/01/10/gangster_squad_whitewashes_the_lapds_criminal_past/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>27</slash:comments>
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		<title>When noir blew up!</title>
		<link>http://www.salon.com/2012/12/12/when_noir_blew_up/</link>
		<comments>http://www.salon.com/2012/12/12/when_noir_blew_up/#comments</comments>
		<pubDate>Wed, 12 Dec 2012 18:03:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[LA Review of Books]]></category>
		<category><![CDATA[William Burroughs]]></category>
		<category><![CDATA[Philip K. Dick]]></category>
		<category><![CDATA[Noir]]></category>
		<category><![CDATA[James M. Cain]]></category>
		<category><![CDATA[The Postman Always Rings Twice]]></category>

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		<description><![CDATA[Along with Hammett and Chandler, James M. Cain did for film and literature what punk did for rock and roll]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.lareviewofbooks.org/"><img style="margin: 0 10px 0 0;" src="http://media.salon.com/2012/06/LARB_LOGO_RED_LIGHT1.jpg" alt="Los Angeles Review of Books" align="left" /></a> WITH ITS ARTLESSLY PERFECT FIRST SENTENCE — "They threw me off the hay truck about noon" — James M. Cain’s <em>The Postman Always Rings Twice</em> drew a line in the sand as defiant as any in literature since <em>The Adventures of Huckleberry Finn</em>. Not unlike that novel, <em>Postman</em> forced an untamed populist voice onto more exalted cultural sensibilities; of course, nothing could be more American. Cain is a major figure of American fiction’s shadow pantheon, the one that includes not Fitzgerald, Hemingway, and Steinbeck but Paul Bowles, William Burroughs, and Philip K. Dick, with Faulkner, Miller, and Pynchon wandering the demilitarized zone between. The most commercially successful of them, Cain was also the most spiritually bleak, finding his calling late and fast in the Depression’s depths after a fitful career as a journalist. <em>The Postman Always Rings Twice</em> (1934) was a sensation and scandal, at the other end of the bookshelf from <em>The Grapes of Wrath</em> (1939): Tom Joad may have been riding that hay truck too, but Frank Chambers is the one who got thrown off.</p><p><a href="http://www.salon.com/2012/12/12/when_noir_blew_up/">Continue Reading...</a></p>]]></content:encoded>
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